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meunier fan

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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    UK

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  1. Just watched the new Peck PDD, ‘Bloom’ in the second part of Vail’s NOW PREMIERE’s programme. (I should be working but couldn’t resist.) I predict this will become every bit as much international balletic standard gala fare as Balanchine’s Tschai Pas – which both ‘Bloom’s music and choreography quote - has been for decades. I - for just one I'm sure - can't wait to see it live. Assuredly I bet this will soon be part of the established NYCB rep with resplendent justification. The phantasmagorical score by the very talented Caroline Shaw springs forth as if the glories of Tchaikovsky had been passed through a Copeland strain and moistened with Shaw’s own key dramatic salt. Peck’s choreography – here created for two internationally loved senior ballet artists – Tiler Peck and Hermann Cornejo – is not only reminiscent of the 20th Century Ballet Master in whose shadow he was wrought but one where the prism is cut through with notations to De Mille, Tudor and Robbins. What a gift! This is American balletic artistry edging towards its pinnacle. How fortunate we are to be able to gaze upon the original creative/creators’ impulse of this rapture. This is a sorely needed gift for our troubled times. Thanks so, Mr. Woetzel, for your extraordinary vision in making this all come together. You and your entire team are visionaries to venerate. Together you champion humane wonder; animate heartfelt bliss.
  2. Watched the first half of the above referenced Vail 'all premieres' progamme and really enjoyed it. Glorious to see Robbie Fairchild back on a ballet stage (dare I say where he belongs?) and paired again with the wonderful Unity Phelan in the opening Whiteside - 'A Perpendicular Express'. It veritably prances; gambolling with as many de facto references to Hungarian folk dance as to the swish, swagger, stalk and flounce of Balanchine. This wittily administers such a glorious uplift I just had to watch it a second time. Refreshing indeed. Well worth the standing ovation that the dedicated (and capacity) Vail audience gave it. Boylston also radiates jubilance here. Lovette and Lil Buck poignantly mash bouree with moonwalk in their 'Until We Meet Again' and the very young Mira Nadon mesmerises in Tiler Peck's haunting 'And So' to a persuasive new score by Caroline Shaw. The obvious influence of the mighty Woetzel - the Nijinksy/Kirstein combo of our times - is obviously having a persuasive effect on Roman Mejia's ever prevailing dynamism. His is one that does not need to shout. It merely is ... and only ever seems to bud in its euphoric vigour.
  3. My experience having attended ballet performances in London recently - and this city now seems to be on a mounting Delta horror story well beyond NYC's current imagining - is that even when people are reminded to put their masks on - on those rare occasions - they only do so in order that they might rapidly remove them again. But given that, as one ROH usher so kindly reminded me, 'three quarters of the House staff have been let go', that is I suppose the most we can now reasonably expect. In London we used to hear the dictum - even from the lips of the PM - 'We're ALL in this together'. Now it seems - certainly by current British government dictates - we're ALL responsible for ourselves. Some term this to be: 'freedom of choice'. Where there are to be failures in terms of our own personal health and safety we can be confident of one thing - and one thing only as far as I can see it: It will have been our own fault. We will have put ourselves at risk after all is said and done. Recently a woman fainted at the top of the ROH's Amphitheatre landing. I went to get a staff member to help. I had to go down two levels. Even then the staff member - rather than running to assist - had to run in an opposite direction to her Manager to see if she should. I didn't wait. I didn't see the point. I dutifully returned. It really is a different world now methinks.
  4. I see there have been some further notifications - although not obituaries from major broadsheets - which I'm sure will follow ... https://newdeaths.com/2021/07/20/patricia-wilde-obituary-death-balanchine-ballerina-patricia-wilde-has-died/ https://insideeko.com/patricia-wilde-obituary-death-pittsburgh-ballet-dancer-patricia-wilde-has-died/
  5. I wonder if another reason - in respect of NYCB - might be that they wanted to reconcile their dedicated live audiences following the pandemic respite - and convert possible new 'live' converts - ALL PRIOR to offering a seasonal digital slate wherein they could capitalise on other (new and old) international / national followers who in most likely instances would not be able to physically attend - as much as I'm certain they'd love to. To my mind that would be prudent.
  6. I did have a goodly number of opportunities to see Nureyev dance with other partners; some very fine ones I seem to recall. (I'm not sure why but the blazing glory of Yoko Ichino seems to be calling out to me at this immediate instant.) Still talking of a ballerina and an event, I was in the audience during one of 'those nights' at what was then known as the O'Keefe Center in Toronto when a then relatively unknown young dancer called Karen Kain was pulled from the NBoC's corps and thrust by Celia Franca into Erik Bruhn's two act production of Swan Lake as Odette/Odile opposite Nureyev's Siegfried as a replacement. One heard the sigh of disappointment when it was announced pre-performance that the promised principal would not perform and her name was called out. I would later learn she had never danced the role before. I, myself, was very young at the time - and certainly impressionable -, but I have never forgotten the electricity that was generated - nor the great male dancer's somewhat obvious displeasure that this truly extraordinary young female artist was getting so much deserved attention at the curtain calls. I remember dashing about trying to find out her name at the end of that revelatory outing. No one seemed to know. In the end I had to go to the stage door to actually discover it. Once learned it was never forgotten. Of course Nureyev himself would later hone in on Kain's balletic majesty many times over, much to his - and our own - concerted advantage. Ah, memories ...
  7. It has been announced that Carla Fracci has passed away at the age of 84 after a long illness. https://www.gramilano.com/2021/05/ballet-legend-carla-fracci-dies-at-84/ She was a truly extraordinary artist whose gossamer gifts I was privileged to witness on any number of occasions. I cherish those memories.
  8. Reasons to celebrate the 21st Century (in so many ways on temporary global hold just now it seems) are certainly here. Nowhere else do Ratmansky, Wheeldon and Peck do better work. Nowhere. There are also embedded within these 54 minutes (and 33 seconds) some glorious performances to savour. For a moment in Mercurial Movements when the ever exquisite Tiler Peck dashed on I thought it was Patricia McBride reborn in dance. Entirely enervating. The eternally evocative Taylor Stanley - those eyes; those eyes - is mesmeric in 'X' from Ratmansky's witty Russian Dances and how wonderful to be able to see the choreographer himself (i.e., Justin Peck) proudly revel in the PDD and final movement of his thrilling Rodeo, encapsulating the very definition of 'Community' such as Balanchine and Robbins would see (and hear) define NYCB every bit as much as Shakespeare did his best plays. Happily - and gloriously - it still does. It reigns. This is - IMHO at least - a feast. Enjoy.
  9. Final Schedule for the NYCB Digital Fall Season '20. (So pleased Abreu is being featured in Water Rite. I have very much enjoyed his dancing.) Schedule Tuesday 27 October at 8pm NEW WORK BY SIDRA BELL pixelation in a wave (Within Wires) Original score by Dennis Bell (pixelation in a wave (Within Wires)) (Commissioned by New York City Ballet) Choreography by Sidra Bell Directed by Ezra Hurwitz Director of Photography Jon Chema Costumes styled by Caitlin Taylor “The exquisitely tenuous correspondence between structural and human forms.” Dancers Ghaleb Kayali, Emily Kikta, Mira Nadon, Peter Walker Violin Michael Roth, Violin Lydia Hong, Viola Katharina Kang, Cello Eugene Moye Wednesday 28 October at 8pm NEW WORK BY PAM TANOWITZ Solo for Russell: Sites 1-5 Music by Alfred Schnittke (Klingende Buchstaben For Solo Cello) Choreography by Pam Tanowitz with Russell Janzen Directed by Ezra Hurwitz Director of Photography Jon Chema Costumes by Reid Bartleme and Harriet Jung Dancer Russell Janzen Cello Ann Kim Thursday 29 October at 8pm NEW WORK BY ANDREA MILLER new song Music by Victor Jara (“Manifesto”) Choreography by Andrea Miller Directed by Ezra Hurwitz Director of Photography Jon Chema Dancers Harrison Coll, Unity Phelan, Indiana Woodward, Sebastian Villarini-Velez Friday 30 October at 8pm NEW WORK BY JAMAR ROBERTS Water Rite Music by Ambrose Akinmusire (“Inflatedbyspinning”) Choreography by Jamar Roberts Directed by Ezra Hurwitz Director of Photography Jon Chema Dancer Victor Abreu Violin Michael Roth, Violin Lydia Hong, Viola Katharina Kang, Cello Eugene Moye, Bass Ron Wasserman, Flute Scott Kemsley Saturday 31 October at 8pm NEW WORK BY JUSTIN PECK Thank You, New York Music by Chris Thile (“Thank You, New York”) Directed and choreographed by Justin Peck Director of Photography Jody Lee Lipes Costumes styled by LaJeromeny Brown Dancers Christopher Grant, Sara Mearns, Georgina Pazcoguin, Taylor Stanley
  10. The Royal Ballet is Back on Stage and returns for a special live-streamed celebration performance on Friday 9 October at 7.30pm BST. I am assuming this will be via the ROH's Vimeo channel as it is a charged stream @ £16 per household much as the recent opera gala was.
  11. The Royal Opera and Royal Ballet have announced an Autumn/Christmas schedule (including a slightly revised 'Nutcracker') of live events within a socially distanced regime: https://www.roh.org.uk/news/the-royal-opera-house-unveils-programme-of-new-work-alongside-much-loved-classics-for-live-audiences-this-autumn https://www.thetimes.co.uk/article/e71f7a7a-ff63-11ea-8388-5bae8b4ec9a9?shareToken=5807070bba5f5e2b38227d896e6a35c8
  12. Saw this listed and thought it might be of interest to some: All Arts: In This Life - Wednesday 8pm EDT / 1am BST (then online) - The terrific dancer Robbie Fairchild has been on an odyssey of self-discovery in the past few years that has taken him, among other things, from New York City Ballet principal to Broadway leading man (An American in Paris) and cinematic Muskustrap (Cats). Now he ventures into the realm of digital short films with In This Life, an exploration of grief that he has co-created with director Bat-Sheva Guez. The piece is divided, à la Kübler-Ross, into five sections, with a different choreographer for each: James Alsop, Warren Craft, Andrea Miller, Christopher Wheeldon and Fairchild himself ...
  13. I've just been watching the new set of Alan Bennett 'Talking Heads' on the BBC ... This sentence made me giggle. Perhaps it shouldn't have .. but it did. (Blame 'Bed Among the Lentils' ... I know, I know ... That's old ... but still .... It's hard to beat Maggie Smith ... but Lesley Manville does give it a fair crack.) I could just picture this Washington doyen ... and her darkening roots ... as a subject for Bennett's beady pen. Bennett does isolation ... and rain ... oh, so well ... There's always something sad that lets you smile ... And there she'd lounge blowing yet another longing kiss ...
  14. Strange that ... Perhaps it's just an error ... and they'll send out a modified link later ... A shame really ...
  15. Neither have I. I very much enjoyed both Connection and the Don Q ..... Happily I just received a 'corrected' link ...
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